Focusing on recent regional policy and important planning debates across the English regions; this book analyzes the issues; disputes and tensions that have arisen in regional planning in the new millennium. With a range of local case studies to ground the argument in local as well as regional planning; the authors here build on a range of theoretical insights including state theory and governance; political ecology; governmentality and collaborative planning. Drawing particularly on a discourse approach; the empirical sections examine a range of major controversies from the past five years of regional planning; including:the socio-political resistance to new housing on Greenfield sitesalternative approaches to promoting sustainable urban development and policies for urban renaissance policies on redirecting or constraining economic expansion in high-pressure growth areasthe social and political bases of new planning technologies for protecting the environment; including sustainability appraisals.
#3139607 in eBooks 2004-07-31 2004-07-31File Name: B000OT814E
Review
1 of 1 people found the following review helpful. Repetitive; Polemical; SimplisticBy Eric MullisI read this as part of mfa (dance) research and was surprised by it in several ways.As someone else noted; its very repetitive and doesnt need to be 300 pages. For example; Copeland writes over and over again about the aesthetics of cool indifference; but that point was clearly made in the introduction. Another issue is how biased it is. I love Cunninghams work but it has its artistic problems. Instead of actually spelling out the details of arguments about those problems; however; Copeland simplifies any criticism and then concludes that the critics just dont get it. For example; Cunningham was a control freak who set up rigorous systems for chance decisions. But as Steve Paxton pointed out; if Cunningham REALLY was into change as a way of taking himself out of the decision making process; then his movement vocabularies (and dance aesthetics) would change from piece to piece. Instead of really digging into the issue of rigorous control and chance and the consistency of Cunninghams aesthetic; Copeland just emphasizes again and again how impersonal and freeing Cunninghams methods and work can be. But it isnt that simple.Copeland similarly quickly dismisses any approach to dance movement that is anti-intellectual in nature by going back to early modern-dances emphasis on emotions and the unconscious. But thats just not the complete story; why should we believe that there are only two options: "cool intellectualism" or "hot emotionalism"? Again; Copeland simplifies not only by presenting only two options but also by basing them in Cunninghams early career (e.g. as a reaction to Graham). But Cunninghams career spanned decades and many approaches to dance movement arose that go beyond that facile dichotomy.Lastly; Copeland dismisses any kind of social critique of Cunninghams work as silly PC identity politics; but again; its not that simple. At the very least; he needs to engage the rather complex issues of the dancer as person and the possibility of formalist work successfully bracketing the personal; and the political implications of that kind of bracketing. Its academically irresponsible to dismiss the issue (as well as all the quality work on dance; ethics and politics) with a bit of blustery hand waving. But; again; thats Copelands repetitive argumentative strategy: simplify the issue and then state your alternative conclusion. Anyone who is more informed about dance studies (or logic) will see through this and; since its so repetitive; will likely get irritated with it.If youre interested in a more informed and balanced approach to many of the issues that Copeland (kind of) discusses; I would take a look at Susan Leigh Fosters masterful book: "Reading Dancing" Reading Dancing: Bodies and Subjects in Contemporary American Dance3 of 4 people found the following review helpful. Engaging but repetitiveBy Michael RichardsAs a highly unschooled Cunningham fan -- this is the first dance book Ive ever read -- I found Copelands book engaging in its scope; contextualizing Cunninghams choreography in relation to the leading cultural and aesthetic movements of the last half century. Copeland has essentially one thesis; stated fairly cleanly in the introduction. I would highly recommend the introduction. Unfortunately the rest of the book can be tedious and dogmatic as Copeland attempts to bolster his arguments through a strategy of repetition and exhaustion. Every movement and idea of the late 20th century seems to be a nail for Copelands rhetorical hammer; and while I found the tie-ins and tidbits of history interesting enough to finish the book; I found the tone and structure of the book to be artificially argumentative and quite lacking in the openness and nuance that Copland praises Cunningham for.3 of 4 people found the following review helpful. Superb tour through the 20th century -- and beyondBy A CustomerWhat an extraordinary book! Copeland does not just tell the story of one figure; even though Cunningham is a great figure central to just about every artistic movement of the last 70 years. Copeland also relates in lucid prose how each of those movements arose; what made it tick; and how its legacy affects us today. After the "culture wars" of the 1990s; there were very few individuals left standing who could both appreciate and criticize the twists and turns of modernism and post-modernism. Copeland is among this saving remnant. If you are looking for a strong-minded; witty; engaging; eloquent Virgil to guide you through the Inferno and Purgatory of art since the 1930s; look no further. Copelands your man.